Scripts: The Man Who Knew Too Much (final draft, 07/May/1955) - part 9
EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT Patterson and Jo peer in the windows. They apparently see nothing. EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT Another policeman is checking the windows on the other side. Nothing. EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT The third policeman is checking the alleyway in back of the Chapel. He sees no sign of anything suspicious. Patterson and Jo come around the back and try the back door. EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT The back door is firmly locked. MATTHEWS There's no one there, sir. PATTERSON Are you quite certain the place was full of people -- only a few minutes ago? JO Of course I'm certain. I was there myself, sitting next to my husband. He sent me out to call Scotland Yard. He looks at her quizzically. J0 It's much too complicated to explain. PATTERSON We'll just have to sit tight and wait for the car to arrive from the Yard. He starts for the front of the Chapel, and Jo, unhappily, is forced to follow. INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT The chapel is deserted inside. In the dim light we can see a form stretched out on the floor. It is Ben. He begins to stir a little as if just beginning to come to after being knocked unconscious. EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT The policemen are grouped around the patrol car, as Patterson, the sergeant, talks over a radio telephone. PATTERSON So far as we can make out, sir, there's no sign of life. I see, very good, Sir. He hangs up, and gets out of the open car. He turns to one of his men. PATTERSON Walden, you'll stay here, till the car arrives from the Yard. WALDEN Okay. PATTERSON That's all, Matthews. The other policeman gets into the car, Leaving the door open for the Sergeant. JO You're not leaving? PATTERSO (Politely) Orders, madam. Can we give you lift somewhere? Jo is frustrated, and irritated, but she thinks for a moment and makes a sudden decision. JO Yes, I want to go to Albert Hall. Patterson looks at her with tolerant surprise. PATTERSON Afraid the Albert Hall's a bit off our beat. Suppose we drop you at the nearest taxi rank? Jo looks back at the Chapel briefly. JO All right. Let's go. They get into the car, and the CAMERA PANS it, as it drives away down the long Victoria London street, which now remains deserted. EXT. EMBASSY - (DAY) - MED. SHOT The exterior rear of a huge residential building such as is to be found in Kensington Palace Gardens or Belgrave Square. The CAMERA PANS DOWN and we see a Humber car driving through the gates at the rear. It pulls up at the Service entrance. A man sitting beside the chauffeur gets out of the car. Inside the car are the Draytons and Hark McKenna. We see the man hurry to the door of the kitchen and enter. INT. EMBASSY KITCHEN - (DAY) - MED. SHOT There is a big staff of kitchen help, chefs, maids of middle-age, all preparing food for what is obviously a big party. The man who has entered, calls to them to get their attention. GUARD Hello. Hello. The work falls quiet as they become aware of him. GUARD Everybody out into the corridor. Hurry (He claps his hands) There is a moment of bewilderment and confusion. The man crosses to someone obviously a butler, and whispers some words to him. The butler turns to the workers and starts herding them toward the corridor through a door in the far corner of the kitchen. BUTLER Do what he says. Come on. It will only be a minute. Come on, all of you -- out. The man goes to the door. EXT. EMBASSY - (DAY) - MEDIUM SHOT He leans out the door and beckons the Draytons and Hank to come in quickly. The three get out of the car and hurry toward the door. INT. EMBASSY KITCHEN - (DAY) - MED. SHOT The man moves back into the kitchen, and goes to stand guard at the doorway through which the workers left. The door is closed. INT. EMBASSY CORRIDOR - (DAY) - MED. CLOSE SHOT The servants are packed together at one side of the corridor. They are talking, grumbling. WOMAN COOK This embassy -- there's always something queer going on. INT. EMBASSY CORRIDOR - (DAY) - CLOSE SHOT While the other servants are grumbling, one is saying nothing. He rather a Shrewd-looking young footman. He strains to listen through closed door. Coming from the kitchen are several sounds. A door opening, the walking of feet, and finally the slam of a door. ANOTHER VOICE Bringing people in, in secret... ANOTHER VOICE Give me the Swiss Embassy every time, there's neutrality for you! Then the sound of a car leaving outside. The door to the kitchen opens and the servants, including the young footman enter again. INT. EMBASSY CORRIDOR - (DAY) - MED. CLOSE SHOT The young footman, among the first to enter, surveys the kitchen. There is no sign of anyone having passed through. EXT. AMBROSE CHAPEL - (DAY) - MED. LONG SHOT The street before the chapel is still deserted, and the light of day is beginning to fade. Suddenly the silence is broken by the sound of the bell ringing spasmodically in the chapel belfry. Along the street a few people begin putting their heads out of windows, and the one policeman left in charge is seen hurrying away down the street. INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT Inside the chapel we can see the cause of the spasmodic bell ringing. Ben is using the rope to climb out of the chapel. He succeeds in reaching high window. He holds on to the window, and looks down. EXT. AMBROSE CHAPEL - (DAY) - LONG SHOT From his viewpoint. He can see people gathering in the street, looking up at the chapel. INT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT Ben decides to swing to the opposite window which will be away from the street. He swings, grabs, and with some difficulty manages a foothold. He finally climbs out through the window. EXT. AMBROSE CHAPEL - (DAY) - MED. CLOSE SHOT Ben moves cautiously out onto the roof of the chapel. Beyond and below him we can see people on the street. He manages to lay low and crawl over the roof, the CAMERA PANNING him. We can now see beyond and below the patrolman returning with two regular uniformed policemen. They are crossing toward the chapel looking up, as we: LAP DISSOLVE TO: EXT. ALBERT HALL - (DAY) - LONG SHOT Shooting through the Albert Memorial as a foreground piece we see the activities of the arrivals at a big concert. Through the archway large limousines are pulling up, while on the sidewalk level with the main road odd taxis are pulling in. We see the usual line of posters which run along the edge of the sidewalk. EXT. ALBERT HALL - (DAY) - LONG SHOT The screen is filled with a large poster. It announces for that evening the commemorative concert. Further details on the poster indicate that a Cantata will be sung featuring the London Symphony Orchestra, The Royal Choral Society, and a name woman as featured mezzo soprano, and Conductor Bernard Herrmann. Between the CAMERA and the Poster a taxi pulls up. It is near enough to the CAMERA so that just the driver and the door fills the screen, Jo McKenna steps out the far side and pays off the driver with a Ten Shilling Note. She hurries away. The driver endeavors to call after her as he turns the note around in his hand. He looks at it with satisfaction, and stuffs it into the inner recesses of his clothes. EXT. ALBERT HALL - (DAY) - SEMI-LONG SHOT We see Jo threading her way across the narrow inner roadway into which large limousines are creeping and depositing indifferently dressed aristocrats. EXT. ALBERT HALL - (DAY) - MED. SHOT Jo finds herself going up the few steps the front door surrounded by a mixture of tattily-dressed, tiaraed English duchesses, and the more elegantly dressed members of the Corps Diplomatique men in white tie, tails and orders, and their more fashionably dressed South American beauties. INT. LOBBY - (DAY) - LONG SHOT Shooting down from the stone-stepped, cast-iron railinged staircase we see the milling people going off in different directions to their seats. There is a hubbub of voices through which we can hear the programme sellers crying out their wares. INT. LOBBY - (DAY) - SEMI-CLOSEUP Jo patiently awaits her turns as two or three people, perhaps a couple of Chelsea 'long-hairs', and one other people, who obviously have not reserved ahead of time because they had no money, take their turns at the window. A uniformed attendant, standing beside this queue, is repeating information for the benefit of the queue. UNIFORMED ATTENDANT Seats at a guinea. Starting Room three and six -- Jo moves out of the queue and addresses him. JO (Rather urgently) I would like to see the manager, please. UNIFORMED ATTENDANT I'm sorry, madam, The manager's on duty in the lobby. So's his assistant. JO Please, I must speak to one of them. Which are they? UNIFORMED ATTENDANT (Vaguely) Over there somewhere... He resumes his chant. Jo turns away disconsolately and starts Jo seek these men out for herself. The CAMERA PANS her over and she finds herself blocked off by a crowd of four or five feet deep. INT. LOBBY - (DAY) - CLOSE UP Jo, standing on her toes endeavoring to look beyond the block of people. Suddenly her face changes as she sees: INT. LOBBY - (DAY) - MED. SHOT Shooting over the head of crowd she sees the arrival of an important personage. He is accompanied by others who are apparently attendants upon him. A couple of the individuals behind him are wearing large order sashes underneath their white waistcoats. The principal figure of this group is an oldish an around sixty. He is in white tie and tails, and also wearing a number of foreign orders. About third is line behind him comes 'Buchanan'. INT. LOBBY - (DAY) - CLOSE UP Jo immediately recognizes him. INT. LOBBY - (DAY) - MED. SHOT From her viewpoint we see the men she has been seeking, possibly the manager of the Albert Hall, his assistant cow-towing behind him, and alongside of the manager someone dressed like he might be 'Sir Kenneth Clarke', the head of the Arts Council, The new-arrival is greeted. There is an exchange of courtesies, after which they are led on toward the beginning of the staircase. As 'Buchanan' comes nearer. INT. LOBBY - (DAY) - SEMI-CLOSE UP Jo tries to push her way through towards him. The people around her resent her efforts. Behind Jo are two girls in their early twenties. Both are Chelsea types. 1ST GIRL (Bored) Is that the Prime Minister? 2ND GIRL (Enthuses) No, that's only the Ambassador. The Prime Minister's the one with the bald head. 1ST GIRL Well, I'll guarantee he's got a better seat than we have. The CAMERA PANS Jo as she does manage to get forward a little, but she is caught up in the Sudden break-up of the people who have lined up to see arrival. By the time she is in the clear the CAMERA PANS her further and over her shoulder we see the last of 'Buchanan' and the rest up the staircase, followed by other members of the audience going up in the same direction. INT. LOBBY - (DAY) - CLOSE UP We see Jo's frustration filling her face. She begins to turn her head. She looks down with indecision. INT. LOBBY - (DAY) - SEMI-CLOSE UP In the foreground are passing people hurrying towards their seats. There, taking a step forward and staring in Jo's direction, is Rien, the Assassin. His face shows considerable alarm at what he sees. INT. LOBBY - (DAY) - MEDIUM. SHOT From his viewpoint Jo is half-turned in his direction. Her head is still down. Slowly she looks up. Her mouth half-opens when she sees the man she once saw in the corridor of the hotel at Marrakesh. INT. LOBBY - (DAY) - SEMI-CLOSE UP Rien, with a quick thought, hurries over to her. INT. LOBBY - (DAY) - SEMI-CLOSE UP The two are in SEMI-CLOSEUP. He says to her quietly: RIEN You have a very nice little boy, madame. He turns to go. Jo clutches him and almost cries out. J0 Where Is he? Where is he? Rien does not reply. The CAMERA PANS him away. We see him join a woman escort and make their way for the staircase. INT. LOBBY - (DAY) - SEMI-CLOSE UP The CAMERA PULLS BACK and we now see that the crowd in the lobby is thinning out. Jo stands alone, jostled by a stream of late arrivals. From the hall itself we can hear the SOUND of the orchestra tuning up, followed by a burst of applause, with a few shouts which obviously herald the arrival of the visiting dignitary in his box. INT. LOBBY - (DAY) - SEMI-CLOSE UP Jo stares toward the opening into the hall. She seems drawn to go in. She crosses and the CAMERA FOLLOWS her to the first entrance to the outer corridor. INT. CORRIDOR - (DAY) - CLOSEUP Jo stands for a moment and then slowly crosses the corridor to the main entrance where the ticket collector and a programme girl stand. As she approaches the opening, the ticket collector steps forward. TICKET COLLECTOR Your ticket, madam? Jo shakes her heads. JO If you don't mind, I'm just looking for someone. She takes a step or two forward as some new arrivals take up the attention of the ticket collector. The programme girl escorts them out of the scene. INT. HALL - (DAY) - CLOSEUP Jo stares at the vast hall in front of her. INT. HALL - (DAY) - LONG SHOT From her viewpoint she sees the complete hall, the orchestra and choir assembled, and a round of applause is heard as the conductor is seen threading his way toward the instruments and mounts the podium. INT. HALL - (DAY) - SEMI-CLOSEUP Jo steals a glance toward the box which first catches her eye. INT. HALL - (DAY) - LONG SHOT From her viewpoint she sees the flag-draped box of the foreign visitor. It is full of his entourage and seat slightly to the left of him in the second row 'Buchanan' is sitting. Nearer to her and in front of 'Buchanan' on one side of the dignitary is a be-medalled, blue- sashed individual who might be an Ambassador. INT. HALL - (DAY) - CLOSEUP Jo turns her head away and looks at the other side. INT. HALL - (DAY) - LONG SHOT The CAMERA roves among the boxes. Suddenly it stops on one as the Assassin takes his seat with his woman escort like any ordinary couple. They are quite casual in their behavior. INT. HALL - (DAY) - CLOSEUP Jo becomes transfixed. A sudden silence returns her attention to the orchestra. INT. HALL - (DAY) - LONG SHOT From her viewpoint we see the full orchestra, the conductor with raised baton. INT. HALL - (DAY) - SEMI-LONG SHOT The Women's choir raise their sheets of music in unison. INT. HALL - (DAY) - FULL LONG SHOT From a point high above we see the whole hall, the audience, and the orchestra. The cantata starts with a roll on the timpani and a burst of music. INT. HALL - (DAY) - LONG SHOT A nearer view of the orchestra. INT. HALL - (DAY) - SEMI-LONG SHOT A whole sweep of the orchestra with the choir predominant. INT. HALL - (DAY) - SEMI-LONG SHOT A skimming shot over the top of the orchestra with the strings in the foreground predominant. The SOUND of these instruments seems to dominate the other music due to their proximity to the CAMERA. INT. HALL - (DAY) - MEDIUM SHOT The cellos -- again their sound dominates the scene. INT. HALL - (DAY) - MEDIUM SHOT The woodwinds -- the same sound effect. INT. HALL - (DAY) - MEDIUM SHOT Now the brass. Their notes drown out the rest of the orchestra. INT. HALL - (DAY) - MEDIUM SHOT Now the double brass. As each of these shots follow in succession, we get more intimate with each group of instruments and finally: INT. HALL - (DAY) - SEMI-CLOSEUP To the timpani where we just hear the kettle drums booming away. INT. HALL - (DAY) - SEMI-CLOSEUP At last one individual, who is seated with legs crossed and arms folded, on a chair, and beside him on another chair, the cymbals. INT. HALL - (DAY) - CLOSEUP The inert cymbals resting on their chair. INT. HALL - (DAY) - MEDIUM SHOT Rien in his box is glancing toward the orchestra. He looks down beside him and slowly picks something up from a chair. INT. HALL - (DAY) - CLOSEUP Jo stares up and catches her breath. INT. HALL - (DAY) - MEDIUM SHOT From her viewpoint we see Rien is raising a pair of small black leather opera glasses which he puts to his eyes and studies his target. INT. HALL - (DAY) - CLOSEUP Jo turns slowly and looks up at the dignitary's box. He is turning to the man beside him, whom we shall later know as the Ambassador, and indicates with gestures how much he is enjoying the concert. He looks back over his shoulder and gives the same gestures and comments to 'Buchanan'. Then, turning forward, he settles back comfortably in his seat to enjoy the music. INT. LOBBY - (DUSK) - LONG SHOT Through the doors we see a taxi pulling away and presently a glass door opens and a dishevelled Ben comes into the lobby. He comes up to the CAMERA and looks about him. INT. LOBBY - (DUSK) - MEDIUM SHOT From his viewpoint the lobby appears empty except perhaps for a solitary uniformed policeman. INT. LOBBY - (DUSK) - SEMI-CLOSEUP Ben look the other way and upstairs. INT. LOBBY - (DUSK) - SEMI-LONG SHOT From his viewpoint the other direction -- just emptiness. INT. LOBBY - (DUSK) - CLOSEUP We see Ben's bewilderment as to what to do and where to go. We PAN him up to the first corridor entrance that leads to the main circular corridor. Ben enters. His face lights up. INT. CORRIDOR - (DUSK) - SEMI-LONG SHOT From his viewpoint we see through the opening the ticket collector and the program girl standing at the opening leading down the main aisle. On the right, standing with her back to him, is Jo. INT. HALL - (DUSK) - MEDIUM SHOT The CAMERA PANS Ben as he hurries forward. He touches Jo lightly on the shoulder. She turns, startled, and manages to suppress an exclamation on seeing him. We do not hear what they are saying but by their pantomime we see that Jo is telling Ben all about the impending shooting. Ben argues with her. He indicates he will tell Buchanan. She frantically restrains him but he shakes her off and dashes away. INT. LOBBY - (DUSK) - SEMI-LONG SHOT We see Ben ascending the stairs originally taken by the dignitary and his group. INT. UPSTAIRS CORRIDOR - (DUSK) - SEMI-LONG SHOT Ben comes into the corridor and looks about him. Beyond him we see a group of men obviously detectives, and ahead of them a police constable. We see Ben hurry in his direction. INT. UPSTAIRS CORRIDOR - (DUSK) - SEMI-LONG SHOT Ben comes up to the constable and is about to pass him when he is stopped. We again do not hear the dialogue, but the pantomime shows that Ben is trying to get to Buchanan. The constable doesn't quite know what to make of Ben's dramatic plea. He indicates that he must talk to his superior. Ben waits impatiently as the constable goes over to one of the Inspectors who is standing in a small group a little way off. From his viewpoint we see the constable addressing the Inspector with skeptical nods of his head in Ben's direction. INT. HALL - (DUSK) - SEMI-CLOSEUP Jo, looking over her shoulder and then up to the box of the dignitary. She turns desperately towards the direction of the Assassin's box. INT. HALL - (DUSK) - SEMI-LONG SHOT Another view of the orchestra, but the duration of it on the screen is much quicker. INT. HALL - (DUSK) - SEMI-LONG SHOT A flash of the Violins. INT. HALL - (NIGHT) - MEDIUM SHOT A flash of the cellos. INT. HALL - (NIGHT) - MEDIUM SHOT A quick flash of the brass. INT. HALL - (NIGHT) - SEMI-CLOSEUP A timpani section. INT. HALL - (NIGHT) - CLOSEUP The cymbals still laying on the chair. INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-LONG SHOT The Inspector is turning to Ben, the Constable on one side. Again in pantomime the Inspector questioning the impatient Ben. He leaves Ben and goes over to the men standing outside the door to the box. Ben half- turns away with exasperation toward the CAMERA. INT. HALL - (NIGHT) - MED. SHOT The conductor in the foreground. We see a quick shot of the orchestra beyond. INT. HALL - (NIGHT) - MEDIUM SHOT The singers. INT. HALL - (NIGHT) - SEMI-CLOSEUP The timpani. INT. HALL - (NIGHT) - CLOSEUP We see a different angle the cymbals filling the screen. CAMERA PULLS BACK quickly and the man who is to wield them unfolds his arms and uncrosses his legs. He leans forward to glance at his score. INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-LONG SHOT Ben is still waiting for the Inspector to discuss matters with the plainclothesman. He turns and hurries away, the CAMERA PANNING him. INT. HALL - (NIGHT) - MEDIUM SHOT Jo is almost weeping with the effect of the singing and the emotional stress she is going through. INT. HALL - (NIGHT) - SEMI-CLOSEUP In the orchestra, the cymbal player now places one hand on the cymbals on the chair. INT. HALL - (NIGHT) - SEMI-CLOSEUP In the box the Assassin places his hand for the first time inside his coat towards his holster. The CAMERA PULLS BACK to show the woman sitting with him, seeing this gesture, rising and backing away into the dark recesses of the box. INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-LONG SHOT Ben is now quickly listening into the section behind the boxes, one of which is occupied by the Assassin. INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-CLOSEUP Ben looks along the corridor. INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-LONG SHOT From his viewpoint we see rows of boxes. INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-CLOSEUP Ben is a little nonplussed. He approaches one. INT. UPSTAIRS CORRIDOR - (NIGHT) - MEDIUM SHOT The plainclothesmen and two uniformed policemen are now coming toward CAMERA looking for the departed Ben. INT. HALL - (NIGHT) - MEDIUM SHOT Back in the orchestra the conductor is wielding his baton vigorously. He swings over a sheet of music. INT. HALL - (NIGHT) - SEMI-LONG SHOT The choir turns over their music. INT. HALL - (NIGHT) - SEMI-CLOSEUP The cymbal player turns over his music. He looks at the music in front of him and for the first time picks up the cymbals. INT. UPSTAIRS CORRIDOR - (NIGHT) - SEMI-CLOSEUP A closer view of Ben shows him trying another door cautiously and surreptitiously. He looks in and then softly closes the door. He moves further along and tries another door with the same cautious movement. INT. HALL - (NIGHT) - SEMI-CLOSEUP The Assassin now has his gun out in the darkness of the rear of the box. INT. HALL - (NIGHT) - SEMI-CLOSEUP The cymbal player watching his music, his cymbals held. INT. HALL - (NIGHT) - CLOSEUP From his viewpoint with the cymbals tipping the bottom of the screen, we see all his music. It is blank. The CAMERA SWIFTLY MOVES IN to the bottom of the right- hand page showing the one note he is to strike. INT. HALL - (NIGHT) - MEDIUM SHOT Jo becoming more anxious and desperate. She looks up towards the Assassin's box with horror as she sees: INT. HALL - (NIGHT) - MEDIUM SHOT The Assassin's figure moving forward and the tip of the gun for the first time. INT. HALL - (NIGHT) - SEMI-CLOSEUP The conductor looks up towards the cymbal player. INT. HALL - (NIGHT) - CLOSEUP The player raises the cymbals. INT. HALL - (NIGHT) - CLOSEUP A close view of the poised gun in the Assassin's box.
...continue to part 10